Latin America Through Women S Eyes

PS/LAS/WGSS 141 8/30/14

Latin America through Women’s Eyes Course Handbook

Neill 213, Tuesdays & Thursdays 3:00-4:30 pm, Fall 2014

Instructor: Paul Dosh Email: [email protected] Home/cell: 651-641-0416 Office: Carnegie 203H (x6776) Office hours: Sign up via GoogleDocs Course Resources: www.macalester.edu/academics/las/facultystaff/pauldosh/courseresources

Contents

COURSE OVERVIEW Study Cycles Expectations Readings The MAX Center Students with Special Needs Students in Crisis

SYLLABUS Introductory Class Sessions Study Cycle I: Cuba Study Cycle II: Chile Study Cycle III: Nicaragua Study Cycle IV: Colombia

ASSIGNMENTS General Notes on Assignments Summary of Assignments and Due Dates Descriptions of Assignments

ASSESSMENT Overview of Qualitative System of Assessment Assessment Criteria and Rubrics COURSE OVERVIEW

¡Bienvenid@s! Welcome to Latin America through Women’s Eyes! What do women do for revolutions? What do revolutions do for women? And what should we make of the electoral victories of women like presidents Violeta Chamorro (Nicaragua), Michelle Bachelet (Chile), Dilma Rousseff (Brazil), and Cristina Fernández de Kirchner (Argentina)? Throughout the past century, Latin American women have overcome patriarchal machismo to serve as elected leaders, guerrilla leaders, union organizers, artists, intellectuals, and human rights activists. Through a mix of theoretical, empirical, and testimonial work, we will explore such issues as the intersection of gender and democratization, feminist challenges to military rule, and organizing for women’s rights. As an introduction to Latin American Studies, this course is interdisciplinary and engages political science analysis, biographical writing, debate, simulations, poetry, art, music, film, public speaking, and student-designed and student-directed class sessions.

Skills. Our course provides opportunities to develop skills including writing (three major papers and several minor writing assignments), oral communication (lecturing, oral summaries of readings, speaking roles in simulations), facilitation (leading small group discussion, co-designing a simulation), and visual communication (timelines, charts, figures, tables, slides).

Portfolio. All students will complete a final portfolio that includes revised versions of their best four pieces of work, including their biographical essay. If you give a 9:59 Lecture or a Partisan Narrative, the text of that presentation can count as one of these four items. If you co-design a simulation, the written elements of the simulation can also count as one of these four items. See the Assessment section for more details on the Portfolio requirement.

This class asks a lot of you, but don’t be intimidated—high expectations don’t have to mean high pressure, because you will get a lot of support and flexibility from Paul and from your peers. I’m excited for our class and delighted that you’re here.

Study Cycles Our course is divided into several days of introductory material plus four “Study Cycles” (Chile, Cuba, Nicaragua, and Colombia). Each study cycle includes 5 class days and covers historical background, theoretic approaches to feminist and feminine politics, and analysis of contemporary politics.

Opening Lecture Each study cycle begins with an opening lecture and short film or film excerpt, and some discussion of readings.

Core Readings Each of the subsequent three days has several assigned readings. Guidance will often be provided on which sections of readings are most important. We will analyze, discuss, and present these readings in a variety of formats involving student leadership.

Simulations There are no reading assignments for the last day of a study cycle, when we synthesize what we have learned through a simulation. Past simulations, for examples have explored the Chilean transition from authoritarianism to democracy and policy toward women in Cuba. The Cuba debate will be directed by Paul; the Chile simulation will be directed by Paul and two students. The Nicaragua and Colombia simulations will each be co-designed and co-directed by a team of three students. You will have a role to play in approximately three of the four simulations, but your level of responsibilities will vary from being a central character who does a lot of speaking to playing a peripheral support role. Both the participants and the students that direct a simulation are evaluated in writing.

Expectations To get the most out of our diverse class, we will need to be respectful of the views others have to offer, and of the fact that each of us has something to teach the rest of the class. Everyone’s full engagement is needed.

I expect you to make this class a top priority. Especially these first couple weeks, I need you to leap into the readings with enthusiasm! When everyone does that, we will have set an excellent tone for the semester.

In addition to readings, every class period will require you to spend some non-reading time preparing for class. Create a habit of setting aside non-reading time to prepare your ideas.

You can expect me to be tirelessly enthusiastic and to work hard for you, both this semester and in future I will make time for you, and I will provide constructive and encouraging feedback.

I expect you to arrive on time and prepared to engage. You are entitled to a day or two where you are dead tired and need to be left alone--just let us know. But the norm is for you to arrive a few minutes early, ready to engage. If you can’t make it to class, let me know in advance.

This course requires a lot from you, but you receive a lot as well, from Paul and your classmates— expect a lot from your peers. We are going to work hard this semester and I hope that the energy and enthusiasm we each contribute will make this class one of the best you take at Macalester.

Readings Most readings are on Moodle, but there are also three required books at the bookstore and on reserve at the library:

•Vanden, Harry, and Gary Prevost (eds.). 2015. Politics of Latin America: The Power Game, 5th edition. New York: Oxford. •Espín, Vilma, Asela de los Santos, and Yolanda Ferrer. 2012. Women in Cuba: The Making of a Revolution within the Revolution: From Santiago de Cuba and the Rebel Army, to the Birth of the Federation of Cuban Women. New York: Pathfinder. Note: This title is also published in Spanish, as Las Mujeres en Cuba: Haciendo Una Revolución Dentro de la Revolución. Both the English and Spanish versions are on reserve at the Macalester library. •Lisa Baldez, 2002. Why Women Protest: Women's Movements in Chile. Cambridge: Cambridge University Press.

The MAX Center The Macalester Academic Excellence (MAX) Center, located in Kagin Commons, has peer tutors available for assisting students in all stages of their writing. Hours are 9:00 am– 4:30 pm Mon-Fri and 7-10 pm Sun-Thur. Becky Graham and Jake Mohan also provide writing assistance to students during the daytime hours, Mon-Fri. You may drop in for help or call x6121 (day) or x6193 (evening) to schedule an appointment.

Students with Special Needs I am committed to providing assistance to help you be successful in this course. Students seeking accommodations based on disabilities should meet with Lisa Landreman, Associate Dean of Students. Call x6220 for an appointment. Students are encouraged to address any special needs or accommodations with me as soon as you become aware of your needs. More info here.

Students Experiencing Challenge or Crisis Macalester College is fortunate to have a full complement of professionally trained staff to support students that are experiencing a challenge or crisis in their lives. When a personal challenge or crisis occurs, it often has an academic impact and may require flexibility around course responsibilities. In such situations, also talking to a trusted professor can be helpful. It can be difficult to approach a faculty member about personal issues, but if I can be of help, please don't hesitate to come and talk to me. SYLLABUS

—Tuesday, September 2— Course Introduction: Where are the Women?! Assignment: Begin to read the course handbook, including the Assessment section. •Cruz, Ariceli. 2011. “Las Heads of State.” Remezcla (March 22). •Mane, Purnima. 2013. “Latin America Lags on Reproductive Rights.” Upside Down World (August 9).

—Thursday, September 4— Gender and Essentialization •Hooks, Bell. 1984. “A Movement to End Sexist Oppression.” Feminist Theory from Margin to Center. Boston, MA: South End Press. •Mohanty, Chandra. 1991. “Under Western Eyes.” Third World Women and the Politics of Feminism, eds. Chandra Mohanty, Ann Russo, and Lourdes Torres. Bloomington, IN: Indiana University Press (pp. 51-80). •Wilson, Tamar Diane. 2014. “Violence Against Women in Latin America.” Latin American Perspectives, Vol. 41, No. 1 (January): 3-18.

—Tuesday, September 9 — Overview of Latin American Political History •Galeano, Eduardo. 1973. Open Veins of Latin America: Five Centuries of the Pillage of a Continent. New York: Monthly Review, pp. 11-18. or read the original Spanish: Galeano, Eduardo. 1973. Las venas abiertas de América Latina. Mexico City: Siglo XXI, pp. 15-23. •Vanden, Harry, and Gary Prevost (eds.). 2015. Politics of Latin America: The Power Game, 5th edition. New York: Oxford. “An Introduction to 21st Century Latin America,” (Ch. 1). Skim pp. 1-12; read pp. 12-16. •Vanden & Prevost, “Democracy and Dictators” (Ch. 3). Skim pp. 42-54. Read pp. 54-73 [pp. 54-70 if using the 4th edition]. Glance over Timeline on pp. 74-80 [71-77 in 4th ed.]. •Vanden & Prevost, “Family and Gender Roles,” pp. 118-132 [114-128 in 4th ed.].

—Thursday, September 11— Four Themes: Feminism, Autonomy, Coalition-Building, Maternalism *REMINDER: Last opportunity to turn in Single Point Paper #1* •González & Kampwirth, “Introduction” (pp. 1-26). •Htun, Mala. 1999. “Women in Latin America: Unequal Progress Toward Equality.” Current History (March). •Shayne, Julie. 2004. The Revolution Question: Feminisms in El Salvador, Chile, and Cuba. Rutgers University Press (“Introduction: Femininity, Revolution, and Feminism”). STUDY CYCLE I Understanding the Cuban Revolution: Is a Feminist Lens Needed?

The 1959 Cuban Revolution was a watershed event in Latin American political history. Fidel Castro’s unlikely ascent to power not only transformed the island nation of Cuba, but also provided a beachhead for Soviet influence in the Western hemisphere, and inspired generations of radical organizations, movements, and political parties in Latin America and throughout the world. Yet even a cursory examination of the thousands of books and articles written on the subject misleadingly suggests that this pivotal juncture was the work of men—men like Che Guevara, men like Fidel, men like Fidel’s brother Raúl.

That women were systematically written out of this history is not unusual, but through careful study a provocative question emerges: is the role of women in the Cuban Revolution simply a factual omission that needs correcting, or does reintroduction of women into the vernacular of the revolution force us to re-examine prevailing assumptions about what happened and why?

—Tuesday, September 16— The Cuban Revolution: A Tale of Two Men? Film excerpt: “Fidel: The Untold Story” (by Estela Bravo, 2001) •Espín, Vilma, Asela de los Santos, and Yolanda Ferrer. 2012. Women in Cuba: The Making of a Revolution within the Revolution: From Santiago de Cuba and the Rebel Army, to the Birth of the Federation of Cuban Women. New York: Pathfinder (pp. 10-20, 40-76, 117-148, both sets of glossy photo pages, and look over Chronology on pp. 289-303). •Prevost, Gary, “Cuba,” in Vanden & Prevost (Ch. 19) [Ch. 14 in 4th ed.].

—Thursday, September 18— The Revolution Question in Cuba Skills Workshop: Argumentation (really!) •Shayne, Julie. 2004. The Revolution Question: Feminisms in El Salvador, Chile, and Cuba. Rutgers University Press (Ch. 5: “The Cuban Insurrection through a Feminist Lens, 1952-1959;” and Ch. 6: “The Women’s Movement in Postinsurrection Cuba, 1959-1999”). •Espín et al. (pp. 189-214).

—Sunday, September 21, 5-7 pm, Carnegie 304— Film Screening with Dinner •“Retrato de Teresa” (directed by Pastor Vega, 1979) (95 minutes). If you cannot attend, the film will be on reserve at Media Services.

—Tuesday, September 23— Feminism in Cuba Skills Workshop: Public Speaking •Espín et al. (pp. 215-287). •Petty, Diana. 2008. “Community: The Missing Link between Practical and Strategic Interests of Cuban Women.” Analytic paper for Latin America Through Women’s Eyes, Macalester College (October 28). •Castro, Arachu, Ida Gonzalez-Nunez, and Yasmin Khawja. 2008. “Giving Birth, Contesting Stigma: Cuban Women Living with HIV.” NACLA Report on the Americas, Vol. 41, No. 4 (Jul/Aug): 25-29. •Guillard Limonta, Norma. 2009. “Cuba and the Revolutionary Struggle to Transform a Sexist Consciousness: Lesbians on the Cuban Screen.” Latin American Perspectives, Vol. 36, No. 1 (January): 63-71.

—Thursday, September 25— Castro Patriarchs: 54 Years and Counting 9:59 Lecture: “Hip Hop and Women in Contemporary Cuba” (Student) *REMINDER: Last opportunity to turn in Single Point Paper #2* •Domínguez, Jorge. 1993. “The Secrets of Castro’s Staying Power.” Foreign Affairs, Vol. 72, No. 2 (Spring): 97-107. •Bayard de Volo, Lorraine. 2011. “Heroines With Friends in High Places: Cuba’s Damas de Blanco.” NACLA Report on the Americas, Vol. 44, No. 5 (Sept/Oct): 19-22. •Azel, José. 2013. “The Illusion of Cuban Reform: Castro Strikes Out.” World Affairs (July/August): 17-27. •Haydulina, Anastasia. 2010. “Interview with Mariela Castro on the Future of Sex and Socialism in Cuba.” The Politics of Sexuality in Latin America, eds. Javier Corrales and Mario Pecheny. Pittsburgh: University of Pittsburgh Press (pp. 270-273).

Optional Reading •Saunders, Tanya. 2012. “Black Thoughts, Black Activism: Cuban Underground Hip-hop and Afro- Latino Countercultures of Modernity.” Latin American Perspectives, Vol. 39, No. 2 (March): 42-60.

—Tuesday, September 30— Simulation #1: Cuba (directed by Paul)

STUDY CYCLE II Women of Chile: From Poder Feminino to Mujeres Por la Vida

In 1973, a U.S.-backed military coup replaced Chile’s democratically elected socialist President Salvador Allende (1970-73) with the brutal dictatorship of General Augusto Pinochet (1973-90). Many factors—domestic and international—contributed to both Allende’s overthrow and Chile’s eventual transition in 1990 from dictatorship to an elected government, but one crucial set of actors was women’s organizations. Both on the Right and Left end of the political spectrum, Chilean women that had abstained from politics for generations rose to play critical roles both in undermining Allende and easing Pinochet out of power. What can the case of Chile teach us about women’s movements, both Right and Left?

— Thursday, October 2— Film: “A Force More Powerful—Chile: Defeat of a Dictator” (30 minutes) Opening Chile Lecture: From Oligarchy to Polarized Democracy Partisan Narratives: Salvador Allende vs. Augusto Pinochet (by Paul) •Timerman, Jacobo. 1988. Chile: Death in the South. New York: Vintage, pp. 18-34 (Chs. 3-4). •Shayne, “Chile Timeline” (pp. 171-173). •Silva, Eduardo, “Chile,” in Vanden & Prevost (Ch. 15) [Ch. 17 in 4th ed.]. •Klein, Naomi. 2007. The Shock Doctrine: The Rise of Disaster Capitalism. New York: Picador, pp. 59-87 (Ch. 2: “The Other Doctor Shock: Milton Friedman and the Search for a Laissez-Faire Laboratory”).

—Friday, October 3, 3:00 pm— *DUE: Cuba Analytic Papers*

— Tuesday, October 7— Right-Wing Women in Chile: The Struggle Against Allende Film excerpt: “Chile: Drama of Hope” •Baldez, Lisa. 2002. Why Women Protest: Women’s Movements in Chile. Cambridge University Press (Chs. 1, 3-5).

— Thursday, October 9— Left-Wing Women: Bringing Down Pinochet Skills Workshop: Outstanding Writing Through Revision •“Machuca” (directed by Andrés Wood, 2004) (121 minutes). On reserve at Media Services. Prior to Oct 9, please view entire film. •Baldez (Chapters 6-8).

—Tuesday, October 14— Michelle Bachelet and Feminist Policy Agendas in Chile Partisan Narrative: Michelle Bachelet (by Student) •Lemmon, Gayle. 2011. “Michelle Bachelet Has a Mission.” Newsweek (September 12). •Stevenson, Linda. 2012. “The Bachelet Effect on Gender-Equity Policies.” Latin American Perspectives, Vol. 39, No. 4 (July): 129-144. •Brito Peña, Alejandra, Beatriz Cid Aguayo, and Carla Donoso Orellana. 2012. “Ruling the Womb: The Sexual and Reproductive Struggle during the Bachelet Administration.” Latin American Perspectives, Vol. 39, No. 4 (July): 145-162. •Haas, Liesl. 2010. Feminist Policymaking in Chile. University Park: Penn State University Press (Ch. 4 “The Limits of Framing: Legislating Abortion Rights” and Ch. 5 “Winning the Game: The Legalization of Divorce”), pp. 119-143, 145-167.

— Thursday, October 16— The Fall of the Concertación and Student Protests *REMINDER: Last opportunity to turn in Single Point Paper #2* •La Negra. 2014. “Chile: La Negra, on women and the violence of the state.” Until the Rulers Obey: Voices from Latin American Social Movements, eds. Clifton Ross. Oakland: PM Press (pp. 428- 432). •Volk, Steven. 2013. “The Politics of Memory and the Memory of Politics.” NACLA Report on the Americas, Vol. 46, No. 3 (Fall): 18-22. •Barrionuevo, Alexei. 2010. “A Serene Advocate for Chile’s Disappeared.” New York Times (January 23): A9. •Spira, Tamara Lea. 2013. “From the Fringes of Empire: U.S. Third World Feminists in Solidarity with Chile.” NACLA Report on the Americas, Vol. 46, No. 3 (Fall): 39-43. •Franklin, Jonathan. 2011. “Chile's Commander Camila, the Student Who Can Shut Down a City.” The Guardian (August 24).

—Monday, October 20, 3:00 pm— *DUE: Biographical Essay Topic*

—Tuesday, October 21, in Davis Court, Markim Hall— Simulation #2: Chile (directed by Paul and two Students)

—Wednesday, October 22, 3:00 pm— *DUE: Chile Analytic Papers*

MIDTERM BREAK

STUDY CYCLE III Women of Nicaragua: From Sandinista Red to Neoliberal Violet

In the 1960s U.S. policy focused on stopping communism in Cuba, and in the 1970s the United States supported right-wing military regimes opposed to socialism in Chile and the Southern Cone. In the 1980s, it was Central America’s turn. The election of President Ronald Reagan heralded a new period of heavy U.S. military involvement in Guatemala, El Salvador, Honduras, and especially Nicaragua. Throughout the 1980s, violence raged along the Honduran-Nicaraguan border as U.S.-backed right-wing “Contra” guerrillas fought the left-wing Sandinistas, who had taken power in the 1979 Nicaraguan Revolution. Prior to their success in 1979, the Sandinista guerrillas were notable for their inclusion of women at even the higher levels of command, but did this inclusive spirit persist in the 1980s, once the Sandinistas were in power?

—Tuesday, October 28— Opening Nicaragua Lecture: U.S. Intervention from Sandino to Iran-Contra Film: “Nicaragua: Red to Violet” •Randall, Margaret. 1981[1995]. Sandino’s Daughters: Testimonies of Nicaraguan Women in Struggle. New Brunswick: Rutgers University Press (pp. 40-79). •González, Victoria, and Karen Kampwirth (eds.). 2001. Radical Women in Latin America: Left and Right. Penn State Univerity Press, pp. 31-32 (Chronology of Nicaragua). •Prevost, Gary, and Harry Vanden, “Nicaragua,” in Vanden & Prevost (Ch. 21) [Ch. 20 in 4th ed.]. •González, Victoria. 2001. “Somocista Women, Right-Wing Politics, and Feminism in Nicaragua, 1936-1979.” Radical Women in Latin America: Left and Right, eds. Victoria González and Karen Kampwirth. Penn State Univerity Press. •Seitz, David. 2006. “La Nicolasa: Her Life and Times.” Biographical essay for Latin America Through Women’s Eyes, Macalester College (December 4).

—Thursday, October 30— Nicaraguan Guerrillas: Sandinista and Contra Partisan Narrative: Dora María Téllez (Student) 9:59 Lecture: “From Guerrillas to Legislators: Equal Treatment for FSLN Women?” (Student) •Speciale, Alessandro. 2013. “Liberation Theology Finds New Welcome in Pope Francis’ Vatican.” RNS Religion News Service (September 9): •Vanden & Prevost, “Religion in Latin America: A New Political Role” (pp. 143-148) [139-144 in 4th ed.]. •Kampwirth, Karen. 2001. “Women in the Armed Struggles in Nicaragua: Sandinistas and Contras Compared.” Radical Women in Latin America: Left and Right, eds. Victoria González and Karen Kampwirth. Penn St ate Univerity Press. •Dougherty, Kevin. 1994. “The Indirect Application of Military Power: US Policy Toward Nicaragua.” Military Review (October): 52-63.

—Tuesday, November 4— Post-Revolutionary Nicaragua Joint Partisan Narratives: Violeta Chamorro and Daniel Ortega (2 Students) 9:59 Lecture: “The Effects of CAFTA on Women (Student) •Guillermoprieto, Alma. 1990. “Letter from Managua.” The New Yorker, Vol. 66, No. 6 (March 26): 83-93. •Blandón, María Teresa. 2001. “The Coalición Nacional de Mujeres: An Alliance of Left-Wing Women, Right-Wing Women, and Radical Feminists in Nicaragua.” Radical Women in Latin America: Left and Right, eds. Victoria González and Karen Kampwirth. Penn State Univerity Press. •Kampwirth, Karen. 2004. “Reacting to the Revolution: Feminist and Antifeminist Politics in Post- Sandinista Nicaragua.” Feminism and the Legacy of Revolution. Ohio University CIS (Ch. 2). •Mejía, Yamilet. 2014. “Nicaragua: In terms of sexual rights and reproductive rights, there has been an incredible regression.” Until the Rulers Obey: Voices from Latin American Social Movements, eds. Clifton Ross. Oakland: PM Press (pp. 143-147).

—Thursday, November 6— Feminism and Anti-Feminism in Nicaragua Today 9:59 Lecture: “Abortion and Birth Control in 21st Century Nicaragua” (Student) •Kampwirth, Karen. 2011. Latin America’s New Left and the Politics of Gender: Lessons from Nicaragua. New York: Springer. •Masri, Hana. 2012. “Opening Space: The Contentious Relationship Between Women and the State in Nicaragua.” Political Science Capstone, Macalester College. •Babb, Florence. 2010. “Out in Public: Gay and Lesbian Activism in Nicaragua.” The Politics of Sexuality in Latin America, eds. Javier Corrales and Mario Pecheny. Pittsburgh: University of Pittsburgh Press (pp. 274-279). •Thayer, Millie. 2010. “Identity, Revolution, and Democracy: Lesbian Movements in Central America.” The Politics of Sexuality in Latin America, eds. Javier Corrales and Mario Pecheny. Pittsburgh: University of Pittsburgh Press (pp. 144-172).

—Tuesday, November 11— Simulation #3: Nicaragua (directed by 3 Students)

STUDY CYCLE IV Oil, Drugs, and Political Violence in Colombia

Often labeled a “War on Drugs,” the ongoing catastrophic violence in Colombia is not only about the influential drug trade, but also about production and control of petroleum, political power in Colombia’s legislature and presidency, and Colombia’s economic model. Impoverished women find themselves attacked from all sides: by the U.S.-funded Colombian military, by right-wing paramilitaries, and by left-wing guerrillas. Women struggle on battlefields, in exploitative factories, and as “mules” in the drug trade, all while largely excluded from positions of political power. What lessons can be applied from our study of Cuba, Chile, and Nicaragua to understand the future possibilities for women in Colombia?

—Thursday, November 13— Opening Lecture: The Heart of the War in Colombia •Thomas, Sylvia. 2012. “The Impact of the Colombian War on Women and Children.” Radio program (audio file) created for Latin America through Women’s Eyes, Macalester College. •Ardila Galvis, Constanza, The Heart of the War in Colombia (London: LAB, 2000), pp. 33-37, 51-59. •Villalón, Carlos, “Cocaine Country,” National Geographic (July 2004), pp. 34-55. •Chaksel, Sebastian, and Michael J. Bustamante. 2012. “Can Santos’s Colombia Turn the Page?” Current History, Vol. 111, No. 742 (February): 67-74. •Dugas, John, “Colombia,” in Vanden & Prevost (Ch. 16) [Ch. 19 in 4th ed.].

—Friday, November 14, 3:00 pm— *DUE: Nicaragua Analytic Papers*

—Tuesday, November 18— U.S. Involvement in Colombia’s War: Training, Personnel, and Military Aid Film excerpt: “Plan Colombia: Cashing-In on the Drug War Failure—¿Guerra Anti-Drogas o Pro- Petróleo?” (by Gerard Ungerman and Audrey Brohy) •Peceny, Mark, and Michael Durnan. 2006. “The FARC’s Best Friend: U.S. Antidrug Policies and the Deepening of Colombia’s Civil War in the 1990s.” Latin American Politics & Society, Vol. 48, No. 2 (Summer): 95-114. •Hristov, Jasmin. 2009. “Legalizing the Illegal: Paramilitarism in ‘Post-Paramilitary Colombia.” NACLA Report on the Americas, Vol. 42, No. 4 (Jul/Aug): 12-19. •Stokes, Doug. 2005. America’s Other War: Terrorizing Colombia. London: Zed Books, pp. 84-114 (Ch. 5: “From Communism to the War on Terror”).

—Thursday, November 20— Impacts of Violence on Women in Colombia Partisan Narrative: Elda Neyis Mosquera (nom de guerre Karina) (Student) 9:59 Lecture: “The Impact of the Colombian War on Women and Girls” (Student) Film excerpt: “La Sierra: Urban Warfare in the Barrios of Medellin, Colombia” (directed by Scott Dalton & Margarita Martinez, 2004). •Murillo, Mario. 2009. “Embattled Cauca: A New Wave of Violence and Indigenous Resistance.” NACLA Report on the Americas, Vol. 42, No. 4 (Jul/Aug): 26-29. •Ballvé, Teo. 2008. “Colombia: AIDS in the Time of War.” NACLA Report on the Americas, Vol. 41, No. 4 (Jul/Aug): 30-34. •Meertens, Donny. 2001. “Facing Destruction, Rebuilding Life: Gender and the Internally Displaced in Colombia.” Latin American Perspectives, Vol. 28, No. 1 (January): 132-148. •Tovar-Restrepo, Marcela, and Clara Irazábal. 2014. “Indigenous Women and Violence in Colombia: Agency, Autonomy, and Territoriality.” Latin American Perspectives, Vol. 41, No. 1 (January): 39-58.

—Friday, November 21, 3:00 pm— *DUE: Biographical Essay*

—Tuesday, November 25— In-Class Film: “Maria Full of Grace” (directed by Joshua Marston, 2004) (101 min).

THANKSGIVING BREAK

—Tuesday, December 2— Women in Other Struggles: Perpetual Crisis or Steady Improvement? Partisan Narrative: Bastardilla (Student) 9:59 Lecture: “The Present and Future of the Left in Colombia” (Student) (optional): •Norby, Michael, and Brian Fitzpatrick. 2012. “The Horrific Costs of the US-Colombia Trade Agreement.” The Nation (May 31). •Gibbs, Terry. 2010. “Voices from the Colombian Left: Women and the Struggle for Social Transformation.” LABOUR, Capital and Society, Vol. 43, No. 2 (April-November): 57-84. •Sanmiguel-Valderrama, Olga. 2007. “The Feminization and Racialization of Labour in the Colombian Fresh-Cut Flower Industry.” Developing Societies, Vol. 23, No. 1/2 (January): 71-88. •Asher, Kiran. 2007. “Ser y Tener: Black Women’s Activism, Development, and Ethnicity in the Pacific Lowlands of Colombia.” Feminist Studies, Vol. 33, No. 1 (Spring): 11-37.

—Thursday, December 4— Simulation #4: Colombia (directed by 3 Students)

—Tuesday, December 9— *DUE: Creative Writing/Art Assignment* Student Presentations of Creative Work Course Evaluations

—Friday, December 12, 3:00 pm— *DUE: Final Portfolio¨ (hard copy in Paul’s Poli Sci mailbox)* ASSIGNMENTS

General Notes on Assignments

Clearly identify your work: At the top of each draft/paper you submit, note your name, date, assignment (e.g., “Analytic Paper #2”), and draft (“2nd draft”).

Required Citation Style: APSA (American Political Science Association) (PDF available at top of Moodle page)

Language options for written assignments: English or Spanish

Courses Resources Web Page Sample work available at www.macalester.edu/academics/las/facultystaff/pauldosh/courseresources.

On-Time Work Policy Setting and meeting deadlines is an important professional skill. The syllabus provides “default” deadlines for assignments. I expect you to either meet these deadlines or set alternative deadlines in advance. College is an important time to develop a reputation as someone who gets things done and gets things done on time. If you cannot meet a deadline, it is your responsibility to communicate with me about when the work will be complete.

Summary of Assignments and Due Dates

Written Assignments Due Date Single Point Paper #1 anytime up until Sept 11 Single Point Paper #2 anytime up until Sept 25 Single Point Paper #3 anytime up until Oct 16 Analytic Paper #1 (Cuba or Chile) Oct 3 or Oct 22 Biographical Essay Topic Oct 20 Analytic Paper #2 (Chile or Nicaragua) Oct 22 or Nov 14 Biographical Essay Nov 21 Final Portfolio (hard copy) Dec 12 (or earlier if you leave campus early for winter break)

Other Assignments Due Date Classroom Leadership Role varies -option #1: Partisan Narrative -option #2: 9:59 Lecture -option #3: Co-Direct a Simulation Class Engagement ongoing Simulation Participation (x3) varies Presentation of Creative Work Dec 9 Descriptions of Assignments

Single Point Paper

Summary: A two-page reaction paper that supports a single argumentative claim with evidence. Criteria for assessment: Argumentation, evidence, written communication (and visual communication if you create a table or figure) Sample available on course resources web page?: Yes Collaboration options: A three-page paper can be co-authored with a classmate Office hours consultation: Always welcome

During three of the first four study cycles (you choose which three), you will write a Single Point Paper (2 pages) in response to a reading or set of readings of your choice. As you read and take notes, think about what key ideas are emerging. Formulate one key assertion. The assertion may be substantive, analytic, methodological, theoretic, or any combination of these.

Here are three examples of Single Point Paper topic sentences: 1) “In her analysis of Guatemala’s peace process, Jonas sets too high a standard for success and overlooks the important gains that were made”; 2) “O’Donnell’s concept of delegative democracy helps us understand the collapse of the party system and Venezuela”; and 3) “Chalmers breaks new ground with his approach to representation, but the evidence doesn’t support his theory.”

Don’t be afraid to be overly bold with your topic sentence. The goal is to raise an interesting point; don’t feel you have to be able to definitively prove it. Following your topic sentence, spend 2 pages (double-spaced) discussing evidence both for and against your assertion. Single Point Papers are due in class on the day we discuss the readings you analyze. They may not be turned in late.

Remember to give your paper a title. Analytic Paper

Summary: A 5-6 page paper that goes out of its way to show off your knowledge of specific course themes, readings, lectures, and discussions. Criteria for assessment: Argumentation, evidence, written communication (and visual communication if you create a table, figure, timeline, or other visual aid) Sample available on course resources web page?: Yes Collaboration options: A 7-8 page paper can be co-authored with a classmate Office hours consultation: Always welcome

You have three opportunities to turn in your two Analytic Papers: Oct 2 (Cuba), Oct 22 (Chile), and Nov 14 (Nicaragua). Choose any two.

The principal objective of each Analytic Paper is to creatively demonstrate mastery of course readings, discussions, lectures, student presentations, and films.

You are encouraged to build upon ideas developed in Single Point Papers and/or to experiment with ideas that may contribute to your Research Paper. A handout with possible topics will be distributed one week in advance, but your own topics are also welcome, so long as they follow the parameters described on the handout.

Citation of ideas that are not yours should be parenthetical with author’s last name, year, and page number only. For example, (Chaffee 2004: 261). Your paper should include a list of references on a separate page.

Try and demonstrate your knowledge of the readings and lectures through thoughtful application of ideas, not via the number of times you mention an author’s name. In other words, there’s no need to excessively cite every sentence or paragraph, but give credit where it is due. I do not expect you to given equal attention to all readings. Let the argument of your paper drive your decision of which readings to make use of to what degree you use them. Biographical Essay and Essay Topic Statement

Summary: A 10-12 page essay focused on an important Latin American woman or women’s organization. Criteria for assessment: Argumentation, evidence, written communication Sample available on course resources web page?: Yes Collaboration options: May propose a longer co-authored essay, perhaps comparing two women or two organizations. Office hours consultation: Recommended

You will write a Biographical Essay (10-12 pages) focused on an important Latin American woman or an organization (e.g., Las Madres of the Plaza de Mayo). One overdone topic choice that I discourage is Eva “Evita” Perón. This is not a social science essay, and thus does not need to have a causal argument, but it still requires a unifying thesis about your chosen woman or organization.

Your essay should convey important biographical information, but it should not simply offer a chronological narrative of the individual’s life story. Rather, it should advance a specific claim about, for example, how this woman overcame patriarchal obstacles, how this organization failed to fulfill its goals, how this woman became a key cultural symbol, how this organization played a pivotal role in shaping a specific political outcome, etc.

Essay Topic Statement Your initial Essay Topic statement is intended to help you get started. Begin with a research question about this woman or organization that interests you. It can also be a set of related questions. Spend about a page describing the proposed essay and how you plan to go about writing it. You are welcome to study women and organizations from Latin American countries not focused on in our course. Your initial statement should included an annotated bibliography with at least five sources from outside the course syllabus.

Creative Writing/Art Assignment

Summary: An open invitation to share your creative talents via an artistic rendering of an aspect of Latin American Politics. Creative projects are presented on the final day of class. Criteria for assessment: None Sample available on course resources web page?: No, but see cover of Course Handbook! Collaboration options: Collaboration encouraged and has been very successful in the past. Office hours consultation: Always welcome

You will complete some creative work that engages a theme, organization, country, or individual from the course. Examples of past student work include a short story, a set of short poems or one longer poem, a song, a dance performance, a drawing, a painting, a collaborative skit, a collage, and a photo essay, but other possibilities exist. Our final meeting will be devoted to celebratory presentations of student work. Partisan Narrative

Summary: A high caliber 5-10 minute first-person narrative told in the persona of an important political figure, followed by 5-15 minutes of Q&A, during which you answer questions while staying in character. Criteria for assessment: Oral communication, evidence, visual communication (and often argumentation if your character uses his/her speech to advance an argument). Sample available on course resources web page?: Yes Collaboration options: May choose a pair of antagonists to be portrayed in dialogue by you and another student (e.g., Mexico’s Felipe Calderón and Andrés Manuel López Obrador). Office hours consultation: Full start-to-finish rehearsal required. Should occur at least two days prior to your scheduled presentation in case a second rehearsal is required.

Partisan Narratives are concise 5-10 minute speeches delivered in the role of important political and historical figures. Narrators then answer questions while maintaining their role. Your narrative will both convey biographical information about this figure and will teach about her or his political era--but from a biased and partisan perspective. Hence you have a two-fold task to both 1) teach us about your character; and 2) make some argumentative claim. One preliminary step that can help you focus in on an argument is to decide who your audience is and when your character is speaking. Here are two examples:

•A student gave a Daniel Ortega narrative in which President Ortega was addressing his Sandinista supporters in 1989, on the eve of Nicaragua’s presidential election. In his speech, Ortega argued that listeners should vote for him and he supported this claim with heartwarming tales of his life as well as policy arguments. •A student gave an Otto Reich narrative, in which this Bush appointee addressed a class of Macalester students in 2005. In his speech, Reich argued for a coup d’etat against Venezuelan President Hugo Chávez, and used anecdotes from his own career to explain why Mac students should abandon their bleeding heart values and support what is best for the United States.

•Tip: Anticipate a few likely questions and prepare rough answers to them in advance.

Preparation and delivery of a Partisan Narrative typically involves: 1) Checking in with the instructor or preceptor at the beginning of your preparation. At this time you should also make an appointment to rehearse your presentation with one of us. 2) Writing and revising your presentation, which typically involves a small amount of outside research. 3) Rehearsing your completed presentation from start to finish with a peer, who can time you. 4) Your final rehearsal is with the instructor or preceptor, typically 1-2 days before your presentation date. You should come with a complete and rehearsed presentation ready to go. 5) Your class presentation, which typically includes up to 10 minutes of prepared remarks followed by 5-15 minutes of Q&A. 9:59 Lecture

Summary: A high caliber class lecture that occupies 20-25 minutes of class time, but your initial formal remarks last 9 minutes and 59 seconds or less, leaving you 10-15 minutes to share the rest of your knowledge in dialogue with your audience. Criteria for assessment: Oral communication, argumentation, evidence, visual communication. Sample available on course resources web page?: Yes Collaboration options: Collaborative proposals welcome. Office hours consultation: Full start-to-finish rehearsal required. Should occur at least two days prior to your scheduled presentation in case a second rehearsal is required.

9:59 Lectures are tight, well-prepared 10-minute lectures on assigned and student-created topics. As with a written paper, your lecture should have an engaging introduction that grabs the audience’s attention and communicates your central claim, as well as some information about how the presentation will proceed. The lecture’s organization should be driven by the argument and should not be only a chronological retelling of key historical events. Your conclusion should be crafted in order to provoke a lively Q&A session.

•Tip: Anticipate a few likely questions and prepare rough answers to them in advance.

Preparation and delivery of a 9:59 Lecture typically involves: 1) Checking in with the instructor or preceptor at the beginning of your preparation. At this time you should also make an appointment to rehearse your presentation with one of us. 2) Writing and revising your presentation, which typically involves a small amount of outside research. 3) Rehearsing your completed presentation from start to finish with a peer, who can time you. 4) Your final rehearsal is with the instructor or preceptor, typically 1-2 days before your presentation date. You should come with a complete and rehearsed presentation ready to go. 5) Your class presentation, which typically includes up to 10 minutes of prepared remarks followed by 5-15 minutes of Q&A.

Co-Directing a Simulation

Summary: A team of three students co-design and co-direct an original role-played simulation. Criteria for assessment: Facilitation, written communication, visual communication, evidence (and occasionally oral communication if facilitators have significant spoken roles during the simulation). Sample available on course resources web page?: Yes Collaboration options: Collaboration with team of two other students required. Office hours consultation: Required (usually includes an initial consultation to discuss ideas and a second consultation once preparation of simulation is underway).

Our second simulation (Chile) will be designed and facilitated by Paul and two student co-directors, and our third and fourth simulations (Nicaragua and Colombia) will each be designed and facilitated by a team of three students. Past student-led simulations have focused on topics such as Zapatista peace talks, immigration on the Mexico-U.S. border, Mexico’s national elections, prosecuting Guatemalan generals for human rights abuses, and debating the Rigoberta Menchú controversy. This option tends to be the most work and the most rewarding. Student co-directors work with the instructor and preceptor, so you do not need prior debate or Model UN experience to choose this option.

Steps in Process 1) Well in advance, decide if you will use our regular classroom or reserve an alternate space (e.g., Weyerhaeuser Boardroom, 4th Old Main lounge, Harmon Room), in which case you should reserve it as soon as possible. 2) Early in the Nicaragua or Colombia study cycle, the three student co-directors meet to brainstorm. 3) Student co-directors meet with Paul or Marian well in advance of simulation date. Additional consultations encouraged throughout process. 4) Design simulation and cast of characters. When assigning roles, consider: who you can count on to successfully play pivotal roles; who seems ready for a role that is at their limit of ability such that they will be challenged and have to step up to a higher level; who has already played key roles in previous simulations and thus, perhaps, should be given a smaller role. 5) All preparatory materials (general handout; individual character dossiers) fully drafted one day before class preceding simulation, allowing time for Paul/Marian to email final comments before handouts are distributed in class preceding simulation day. Once these handouts are distributed, simulation co-directors can continue to prepare all other aspects of simulation, up until day of simulation; thus, the handouts for participants should be your initial priority, so you can get these to participants early enough for them to have time to prepare. 6) Arrive early on day of simulation to prepare the environment. Don’t let people into the room until you are ready for them. Consider what elements of physical environment will be conducive to a successful simulation, such as table/chair arrangement, name placards (almost always needed), nametags (only needed if participants will be mingling away from their seats), visuals to be projected during simulation (can be completed in advance, ready to show; or can be drafted in advance, but with some elements left subject to change, so that visuals reflect action in simulation).

Final Portfolio

Summary: A beautiful polished portfolio that includes revised versions of your best work. Criteria for assessment: Argumentation, Evidence, Written Communication, Visual Communication Sample available on course resources web page?: Yes Collaboration options: Creative proposals welcome Office hours consultation: Always welcome

You will revise and assemble your best four pieces of writing into a final portfolio. Typically, this means your two Analytic Papers, your Biograpical Essay, and the written component of your Classroom Leadership work (i.e., either the text of your class lecture or the written elements of a simulation if you co-designed one). However, exceptional Single Point Papers also sometimes get published in portfolios.

The guiding principle behind your completion of this portfolio is that it should be a professional document that is ready to be read not only by the instructor and preceptor, but by some other audience as well. Make it a finished product that you are proud of and that shows off your very best work. All items in it should be revised and polished. You must turn in a hard copy (no electronic submission allowed).

Portfolio Components

Cover page. Should include standard cover page info unless it is an artistic cover, in which case include whatever you like (title and your name at a minimum), and include the standard info at the top of the Table of Contents page.

Optional page with opening quote, poem, or dedication. Such pages typically have a smaller number of words and a lot of blank space to draw emphasis to the words.

Table of Contents. List all entries and their corresponding starting page number. Use a “right tab arrow” to line up the right-hand side of each numeral with a single “tab,” rather than “tabbing” across the page and “manually” lining up the left-hand side of the numbers, which requires readjustment every time you edit the entries in the Contents.

Introduction. One page or less (single-spaced) statement that describes portfolio as a whole and introduces each component briefly. At your option, may include text of a personal nature communicating your own connection to or experience in Latin America.

Chapters 1-4. Each chapter will most likely consist of a separate assignment. You need not specify that the chapter was originally a particular type of assignment (e.g., Diagnostic Paper). Other format possibilities exist, but a standard chapter title might take the form of “Chapter 2: The Power of Maternalism in Chile.” Remove extra info like the original date of the assignment, your name, and course title. Start a new page with each chapter. Everything should be single-spaced. Either indent each paragraph OR don’t indent but skip a line between each paragraph.

Visual Element. This could be a table or figure already in one of your pieces of writing. It could be a photo or image on the cover or some other page. It could be a piece of your own artwork on the cover. It could be a new visual aid you add to one of the pieces of writing. If you include a Table, use the Insert Table function from the Table pull-down menu on the toolbar (or any other computer program or Word function for making visuals--just don’t “manually” create your table by using the “Tab” key and underlining the top line).

Unified Bibliography. A single alphabetized list of all sources used in the portfolio. Single- spaced with “hanging indents” (don’t use the Tab key to “manually” create the indents; instead use the margin arrows on the Ruler so that the first line of each entry is not indented while subsequent lines of that same entry are indented).

Other Formatting Guidelines Note: These are guidelines, not rules. You may deviate from them if you have an approach that works better for your portfolio.

•Entire document should be single-spaced. Double-spacing is for drafts. This is a finished document.

•One set of page numbers, from start to finish. Cover should not have a page number. Table of Contents should be page 1 (unless you have something before the Contents, like an opening quote, poem, dedication). Assuming your cover page is a computer-generated page, don’t print it as a separate document. Instead, make it your first page, but set the page numbers to begin at “0” (zero) and unclick the box for showing the page number on the first page. Of course we won’t know if you’ve done it this way, since you’ll turn in a hard copy, but if you don’t know how to do this already, take this opportunity to learn so that when you need to email a document you can have it arrive as a single unified professional file.

•Dare to be different. You’re the author here. Improve on this basic template to make your portfolio distinct. Class Engagement

Summary: An on-going assignment that expects you to energetically engage your classmates and the course materials. Criteria for assessment: Non-standard Sample available on course resources web page?: No Collaboration options: None Office hours consultation: You are welcome to solicit feedback on your class engagement. I will also share feedback with you when you come to office hours. If your class engagement needs improvement, we will meet to create a plan to get you re-engaged.

To get the most out of our diverse class, we will need to be respectful of the views others have to offer, and of the fact that each of us has something to teach the rest of the class. Everyone’s full engagement is needed to get the most out of the course.

Your Class Engagement will be assessed based on attendance, careful reading of assigned texts, participation in three Simulations, three Single Point Papers, Biographical Essay Topic Statement, Creative Art/Writing assignment, and your engagement of course materials and your classmates.

Different people have different ways in which they best engage course materials and classmates. Some of these methods of engagement include active listening, thoughtful preparation for class, sharing a well- formulated idea with reference to another person's ideas, off-the-top-of-your-head reactions to new ideas, helping a classmate understand a difficult concept, coming to office hours, bringing relevant news articles to class to share, and creative completion of assignments.

You get the picture: different people have different learning styles. Some are listeners, some are more visual, some need to speak or write things down to understand them. I are always open to suggestions as to how we can make our class a better environment for you to learn and teach.

ASSESSMENT

Overview of Qualitative System of Assessment Major assignments are assessed with written feedback and a summary mark. For example, an Analytic Paper might receive detailed comments and a mark of “Revise & Resubmit.” In addition, assignments are assessed with respect to various criteria, such as “Argumentation: Fairly good” or “Evidence: Excellent,” with accompanying written comments and suggestions for further improvement.

This feedback will guide you through the process of revising and publishing your best four pieces of writing in a Final Portfolio. If you give a Partisan Narrative or a 9:59 Lecture, you may be allowed to revise the text of your presentation and count this as one of the four portfolio elements.

Summary Marks This is an ungraded class. No letter grades are given for either individual assignments or your overall performance in the course. Instead, all work is evaluated through written feedback intended to affirm strengths, identify weaknesses, and suggest strategies for improvement. Written assignments, as well as your Classroom Leadership assignment, will also receive one of the following summary evaluations:

Not Passing (repeat of assignment required). A mark of Not Passing signifies either that the assignment was not turned in, or that the work turned in does not appear to be a serious effort at completing the assignment. Receiving a mark of Not Passing on any assignment requires a prompt meeting with the instructor, in order to get back on a path of making satisfactory progress toward passing the class. The assignment must be repeated again from scratch, or made up in some other way agreed upon with the instructor.

Developing (revision required). Developing work exhibits signs of a serious effort to complete the assignment, but the quality of the work is not yet of sufficient caliber to warrant moving on to the next assignment. Instead, the assignment must be revised and improved. It is important to understand that this mark is not a judgment of how hard you are working; it simply reflects the judgment that you have more to learn from this assignment before moving on. Revisions are due one week after your work is returned to you with feedback.

Satisfactory. A mark of Satisfactory indicates professional completion of the assignment with respect to all the criteria of the particular assignment, such as rigorous argumentation in a paper or articulate delivery of a speech. You have done good work and moved ahead in your learning. The assignment was a worthwhile exercise, but its usefulness to your learning has been exhausted, and you are ready to move on to the next assignment. Well done!

Revise and Resubmit (“R&R”). A mark of Revise and Resubmit is a suggestion that you revise the assignment and resubmit it for possible publication in your Final Portfolio. Hence, your paper or other assignment not only exhibits professional completion of all relevant criteria, but also has the potential to be refined into an excellent piece of polished work. Revisions are due one week after your work is returned to you with feedback. Publish. A mark of Publish denotes an excellent piece of work that requires no further revision. Congratulations, you are one step closer to completing your final portfolio!

Final Semester Evaluation At the end of the semester, you will receive a summary written evaluation of your work (including your Final Portfolio and Class Engagement), as well as one of three possible marks that will go on your transcript: S (Satisfactory), SD, or N (No Credit). None of these marks will affect your GPA. In order to earn a Satisfactory mark, you must complete all assignments with a mark of Satisfactory, R&R, or Publish, and at least four assignments must receive a mark of Publish in order to complete your portfolio. Your written evaluation will be submitted to the Registrar, allowing you to request that it accompany your official transcript.

Assessment Criteria and Rubrics Each major assignment is assessed in terms of one or more of six criteria. Individual assignment descriptions specify which criteria are used for evaluation. The six criteria are described here, and a rubric is provided for each.

Criteria descriptors are cumulative, so each successive descriptor assumes the elements of those listed above it. Rubrics are illustrative and provide a guide to the skills you should focus on developing. They are not rigid assessment tools, since a given paper or presentation might include more advanced elements while omitting more basic elements, or might fulfill the expected elements with varying degrees of quality.

Argumentation (papers and presentations) Passing. Paper or presentation advances an argument in order to answer a specific question. Argument is organized logically with a clear introduction, a “roadmap” or other set of cues to guide the reader/audience, and a conclusion. Fair. Analysis of evidence supports the argument. Fairly good. Paper or presentation acknowledges evidence that runs counter to the argument in order to boost author’s credibility by showing that she is aware of other perspectives. Good. Contrary evidence is not only acknowledged, but is also either refuted or framed in such a way that such evidence bolsters argument, rather than undermining it. The entire paper or presentation revolves around the central argument. Very good. The argument is shown to be relevant to broader scholarly, theoretical, conceptual, and/or civic debates, with reference to specific authors or theoretical perspectives. Excellent. The paper or presentation makes an original contribution to one or more of those debates.

Evidence (papers, presentations, and simulations) Note: In this course, the following assignments require outside research: Partisan Narratives, 9:59 Lectures, Simulations, and Research Papers. For other assignments, use of sources not on the syllabus is welcome, but not expected. Passing. Paper or presentation makes ample use of specific readings and authors. Papers correctly cite sources. Analytic Papers and Research Papers include a properly formatted bibliography. Fair. Use of evidence identifies key ideas and interesting details and demonstrates a deeper reading of sources. Fairly good. Specific concepts and theories are not only identified but are presented in a way to concisely inform the reader/audience of their important elements. For Analytic Papers and Research Papers, bibliography reflects a diverse array of sources. Good. Evidence is organized around the key components of the argument. For example, an argument-driven organization is often (but not always) more effective than a strictly chronological organization of evidence. For simulations, preparatory handouts reflects good knowledge of issues Very good. Skillful weeding out of evidence that is perhaps interesting, but unnecessary and/or not relevant to argument. For presentations, in-depth reading and preparation permits concise answers to questions Excellent. For research papers, bibliography reflects an extensive effort to gather sources of data. For presentations, great familiarity with the material enhances ability to connect with the whole audience. For simulations, preparatory handouts reflect sufficient knowledge of issues and characters to anticipate and engineer interesting conflicts among participants that will provide opportunities for learning.

Written Communication (papers and simulations) Passing. A lack of obvious erors makes it klear that the the final hard copy version was carerefully proof-read before it being turned it in. Fair. Clear structure allows reader to know what paper is saying and when. Each topic sentence reflects the content of its corresponding paragraph. Fairly good. Paragraph breaks are effective. Manuscript vernacular evades obstruse obfuscation. Good. Section headings say a lot with few words. If no section headings are used, clear and effective transitions guide reader from one section to the next. The paper is the correct length given what you have to say. Very good. Paper has good flow from one section to the next. Some topic sentences are imaginative and memorable. Excessive repetition of the same word(s) is avoided. Excellent. Without sacrificing rigor, the text overcomes the rigidity that often characterizes academic writing, making the paper a pleasure to read. The reader is able to focus entirely on the ideas of your paper, without ever being distracted by problems with the writing. Final presentation is tight and polished. If this “book is judged by its cover,” it will be judged “perfect.”

Oral Communication (presentations) Passing. The orderliness of your notes and your respect for the time limit makes it obvious that you have done a start-to-finish rehearsal of your talk. Fair. You always face the audience when you speak (and not the board). For Partisan Narratives, presenters stay in character during entire narrative and during Q&A. Fairly good. You like, totally, avoid, um, verbal crutches, or whatever, y’know? During the first minute of your presentation, you make an effort to connect with your audience. Good. Very well rehearsed. Notes are effectively prepared for minimal disruption. Strong beginning and strong finish. Pace of delivery allows you to cover a lot of ground without losing audience. You enunciate clearly. Note: For Partisan Narratives and 9:59 Lectures, “good” oral communication is the minimum standard to be allowed to present in class. If at your office hours rehearsal it appears you are not yet ready to give at least a “good” presentation, you will be required to do a second (and occasionally a third) rehearsal before you “go on stage.” The rationale for this is two-fold. First, public speaking can be intimidating and we want you to be successful. There’s no shame in needing more preparation before you are ready to present to your peers. Second, our class time is valuable and we want the 15-25 minutes that you are in the driver’s seat to be valuable for everyone. Insisting on a high standard for student presentations helps sustain peer enthusiasm for this use of class time. I am eager to work with you on improving your oral communication – I know it can be scary! Very good. Tightly rehearsed. Minimal use of notes. Engaging style of delivery. Dynamic variation in tone and volume of delivery. Q&A is at least as strong as your initial remarks. Excellent. Presentation is so well rehearsed that parts of it are practically memorized, even if you still have notes in your hand. Superlative preparation permits you to focus almost entirely on the audience as you hardly need to think about your talk.

Visual Communication (presentations, simulations, and some papers) Passing. Professional appearance communicates to audience that presentation is a significant opportunity for them to learn. Fair. Any visuals you show your audience (e.g. slides or a handout) are projected at a speed or distributed in a way that allows people an appropriate amount of time to absorb the visual information without losing track of what you are saying. Fairly good. Slides and/or handouts are crisp and not cluttered with too much text or too many images. Good. You make eye contact with your audience and you do not stare at a single individual or section of the room. Use of handouts or the board helps students engage the material. Graphs, charts, and tables are generally re-drawn by you so as to include only the visual information that is essential to your presentation or paper, leaving out other data or elements. Any slides that are projected enhance and supplement the presentation without “stealing the show” from you, the presenter. Very good. Body language enhances presentation and movement is purposeful and not due to nervousness (though it’s okay to be nervous!). For simulations, all elements of physical classroom environment (e.g. chair and table set-up, nametags and/or name placards, removal of excess furniture from room, info on board, distribution of handouts carefully planned) are thoughtfully prepared and/or arranged to reinforce the exercise. For papers, visuals relate directly to the argument. Excellent. Partisan narrators create lasting and memorable impressions, perhaps accenting their personas with props or a costume. For papers, an original figure or table captures the core argument and helps communicate its substance to the reader.

Facilitation (simulations) Passing. Facilitation of class period provides a useful forum for the class to process the major themes of the course. Fair. Simulation directors work well as a team. Fairly good. Knowledge of subject matter allows facilitators to keep the simulation moving at all times. Good. Exercise engages all the participants and manages to cover multiple topics in a way that is organized but not forced. Knowledge of subject matter allows directors to keep things moving and keep all participants included. Very good. Strong preparation and careful study of texts allows facilitators to focus entirely on the needs of the class. Facilitators know when to intervene and when to “stay out.” When things go wrong, facilitators are able to react quickly and smoothly to either keep the simulation on track or to guide it in an expected, but productive new direction; participants do not realize that something went “wrong.” Excellent. Participants will remember this exercise after they graduate! Excellent preparation of all materials and careful study of all texts allows directors to focus entirely on the needs of the class. The different parts of the class period engage all participants and engage key concepts or theories from course materials.